"Rashomon" is based on the original book "In the Shinobamboo Bush" by the famous Japanese writer Akutagawa Ryunosuke. But Akira Kurosawa's film "Rashomon" is unmatched by the original book, whether it is ingenious plot setting, profound ideological connotation, or the unique expression of the film. Therefore, the film not only won an international reputation for Akira Kurosawa, but also made Japanese films on the world film scene. The story of Rashomon is actually a single-plot murder case: a samurai who was killed one day while walking through a forest with his wife. Who is the murderer? According to the general method of filming, the police station immediately dispatched detectives, and after some investigation, the murderer was finally caught. But Akira Kurosawa did not do this. He used the film structure method of interlaced time and space: that is, the woodcutter, monk, and handyman who were sheltering from the rain under the Rashomon building discussed the case (real time and space) together, The four different accounts (past time and space) narrated by the four parties and witnesses in court are intertwined with each other, thus making a simple case seem complicated and confusing, which arouses people's thinking. This is the genius of the director. The film uses the pictures and the narration of the parties to reproduce four different versions of the murder case: First, the woodcutter's testimony. He said that when he went up the mountain to cut wood three days ago, he found a hat and a hat worn by a woman in the forest. A delicate little wooden comb, and after seeing the samurai's body, he hurried to the government to report the case; secondly, the robber Tajomaru said: He only wanted to possess the beautiful samurai wife, and he did not want to kill the samurai, because the woman repeatedly instigated , The two duel, the samurai lost and was stabbed to death by him; the third is the samurai's wife, Masa, said: After she lost her life, she asked her husband to forgive her, but her husband's cold and terrifying eyes made her dizzy and fell into his arms. At that time, the short knife in his hand killed him by mistake; the fourth is the ghost of the warrior who said through the mouth of the witch: He saw his wife and the robber had gone, and he used his wife's short knife to kill himself in desperation, and someone pulled the short knife from his chest. That's when he died. Why did the director arrange these four different statements? One is to enhance the suspense of the film, making the plot ups and downs and confusing; the other is to inspire the audience's thinking and judgment; The third—and the most important point, is the director’s need to express the theme of the film—the four arguments are all from their personal subjective point of view. Selfishness and untrustworthiness are just the ugly side of human nature that the director wants to criticize. However, at the end of the film, the woodcutter not only overturned the claims of the three parties, but also confessed that he lied before, and finally told the truth: the two men did not want to duel, it was Zhensha who deliberately repeated among the two men Instigating and provoking the generals, the two men were furious, and the robber stabbed the samurai to death in the duel. In order to convince the audience of the woodcutter's words, the director added a stroke at the end that seems to have nothing to do with the film, but is actually very important - the woodcutter not only angrily condemned the selfish behavior of the handyman for stripping the abandoned baby's clothes, but also took the initiative from the monk's hands Taking over the abandoned baby and raising it as his seventh child - the director once again used the facts to prove that, making us believe that the action of the woodcutter reflects the existence and return of human nature. The monk's final statement is the point of view accepted by the audience - more directly, the point of view of Akira Kurosawa, who is a humanitarian: to believe that there are still many good people in the world, human nature is the essence of human beings, and the future is full of hope Yes! An obvious feature of the film's art is the clever use of mobile photography. For example, in this section of the woodcutter going up the mountain, the sun shines on the green mountain forest, and the woodcutter carries an axe on his shoulder and walks quickly along the winding forest path-starting from the distant scene of the sun shining on the wood, the camera I have been shooting with the woodcutter, and I am constantly changing the angle, sometimes from the top, sometimes from the top; sometimes from a distance, sometimes from a close-up; Sometimes panorama, sometimes close-up, etc. The camera is like dancing, pitching up and down, turning left and right, jumping far and near, plus the wonderful music melody, it is really a blend of scenes and picturesque, giving people a visual and auditory aesthetic enjoyment. Another example is the scene where the camera followed Tajomaru running in the bushes at high speed: Tajomaru was resting under a big tree, and he saw the samurai leading the horse past him, and he was caught by the woman who was sitting on the horse. Attracted by the beauty of people, I suddenly became lustful. He wanted to chase down the road, but he was afraid of being found by them, so he pushed aside the twigs with both hands, and jumped in the bushes to chase after the woman, and as the green bushes quickly fell back, the figure of the man Then it dashed forward from time to time, as if a great swimmer was swimming in the green ocean. The scene was really wonderful. What is very strange is that the audience does not feel the existence of the camera at all, but the audience's eyes track the human figure. Akira Kurosawa once said, “My unique method is to shoot with multiple cameras at the same time. . Work so that the audience does not feel the presence of the camera." This fully reflects the master's superb photography skills. In addition, the director's use of symbolism is also unique. The first is "door" and "rain". This Rashomon was originally the south gate of the large city circle of Heianjing (now Kyoto), but it was in disrepair due to years of disrepair and dilapidated appearance. And the neighborhood is sparsely populated, making it seem deserted and desolate, and it has become a place for ordinary people to rest. Rainstorms generally give people a bad feeling of darkness, depression, wetness, etc. It is of special significance for the director to tell the story of a murder case in a specific environment such as the torrential rain shrouded the dilapidated and desolate Rashomon - allowing people to tell and criticize people's selfishness, depravity and murder in this environment Wait for the dark and ugly side of human nature, and at the same time let the heavy rain wash people's souls. Finally, the rain stopped, the sun came out, and the woodcutter went home with the child in his arms—the human heart and the world were brightened, full of kindness and warmth. In addition, the dark and secret environment in the mountains and forests is also a metaphor for the darkness and depravity of human nature (rape and murder happen here); but the sunlight that appears many times in the film illuminates the trees and bamboo forests, showing a very beautiful "sunshine twinkling" "The image - symbolizing that light can also shine on these dark corners, justice can overcome evil, and the world is beautiful. Using these vivid images to symbolize or express a certain profound ideological connotation and philosophy is a common technique in Akira Kurosawa's films to arouse the audience's deep thinking, which is the director's genius. However, the sunlight that appears many times in the film illuminates the trees and bamboo forests, showing a very beautiful "sunshine twinkling" image - a symbol that light can also shine on these dark corners, justice can overcome evil, and the world is beautiful. Using these vivid images to symbolize or express a certain profound ideological connotation and philosophy is a common technique in Akira Kurosawa's films to arouse the audience's deep thinking, which is the director's genius. However, the sunlight that appears many times in the film illuminates the trees and bamboo forests, showing a very beautiful "sunshine twinkling" image - a symbol that light can also shine on these dark corners, justice can overcome evil, and the world is beautiful. Using these vivid images to symbolize or express a certain profound ideological connotation and philosophy is a common technique in Akira Kurosawa's films to arouse the audience's deep thinking, which is the director's genius. However, the sunlight that appears many times in the film illuminates the trees and bamboo forests, showing a very beautiful "sunshine twinkling" image - a symbol that light can also shine on these dark corners, justice can overcome evil, and the world is beautiful. Using these vivid images to symbolize or express a certain profound ideological connotation and philosophy is a common technique in Akira Kurosawa's films to arouse the audience's deep thinking, which is the director's genius. However, the sunlight that appears many times in the film illuminates the trees and bamboo forests, showing a very beautiful "sunshine twinkling" image - a symbol that light can also shine on these dark corners, justice can overcome evil, and the world is beautiful. Using these vivid images to symbolize or express a certain profound ideological connotation and philosophy is a common technique in Akira Kurosawa's films to arouse the audience's deep thinking, which is the director's genius. However, the sunlight that appears many times in the film illuminates the trees and bamboo forests, showing a very beautiful "sunshine twinkling" image - a symbol that light can also shine on these dark corners, justice can overcome evil, and the world is beautiful. Using these vivid images to symbolize or express a certain profound ideological connotation and philosophy is a common technique in Akira Kurosawa's films to arouse the audience's deep thinking, which is the director's genius. However, the sunlight that appears many times in the film illuminates the trees and bamboo forests, showing a very beautiful "sunshine twinkling" image - a symbol that light can also shine on these dark corners, justice can overcome evil, and the world is beautiful. Using these vivid images to symbolize or express a certain profound ideological connotation and philosophy is a common technique in Akira Kurosawa's films to arouse the audience's deep thinking, which is the director's genius.
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